Amazon.com: This is a stunning performance of some of the most formidably difficult music in the repertoire. Written by the foremost violinist of his, and perhaps any other time, these six sonatas contain every imaginable--and some unimaginable--technical, tonal, and musical challenge for the instrument and the player. Ysaÿe's acknowledged models were Bach and Paganini, his inspiration six friends and colleagues whose playing he especially admired and to each of whom a sonata is dedicated, tailored to his instrumental and interpretive gifts. The one written for Kreisler even incorporates a little pastiche of his composing style. Although Ysaÿe had stopped performing, he poured into these sonatas his peerless knowledge of the violin and its resources, along with his lifelong experience of it as an expressive tool, creating what is widely regarded by both players and listeners as a set of masterpieces. Clearly, only a virtuoso of the highest caliber as well as intrepid courage can do justice to these works. Thomas Zehetmair has established an international reputation for his consummate technique, stylistic versatility, fiery temperament, emotional intensity, and adventurous spirit. These qualities are on abundant display on this recording, making him an ideal interpreter for these highly charged, powerful, dramatic, mercurial works for which he seems to have a natural affinity. He tosses off the most hair-raising technical feats with effortless ease: double stops of all kinds, chords, runs at top speed all over the fingerboard, tricky bravura bowings, sound effects. He can make the violin sing, speak, sigh and laugh; his tone is gorgeous, vibrant, pure, variable, nuanced; even the pizzicati sound good. He captures every mood and character of the music: its sweet, dreamy graciousness, lyrical repose, joyful exuberance, driving energy, unbridled passion, inexorable obsessiveness. This is an all-out, no-holds-barred performance that will keep you on the edge of your seat. --Edith Eisler
Disc 1:
Sonata No. 1 in G minor: Grave
Sonata No. 1 in G minor: Fugato
Sonata No. 1 in G minor: Allegretto poco scherzoso
zehetmair there is no better violinist than zehetmair (at least of those who record). he is so ridiculously good he makes this repertoire sound better, perhaps, than it was intended to be.
ridiculous. wonderful.
Zehetmair brings out the beauty of the pieces I've noticed that not many violinists have put these pieces to record. Is it because of their technical difficulty and the fact that Ysaye doesn't have the catchet of Bach or Paginini?
I have the Shumsky recording of these pieces, and while he shows the virtuosity of the works, I don't really hear the beauty and grace of them.
Zehetmair, however, plays these with impeccable virtuosity and also lends a depth and beauty to the pieces that I hadn't heard before.
It sounds like Zehetmair is leaning towards conducting these days; lets hope that he continues to bring out excellent recordings such as this one.
Colossal - this transcends hollow virtuosity This recording is one that I hold quite dear, and it's somewhat ironic that I found it by accident at my library. While I haven't heard any other recordings of these pieces, I am fully ready to say that Zehetmair's technical perfection and emotional range is nothing short of masterful. This repertoire is currently my favorite for the instrument, as I think it suits the violin's unique qualities more than any other works written for it (yes, including paganini and bach).
The liner notes speak of being alone; indeed, nothing but the sound of solitude will pour from your speakers. Ysaye's emotions scream through the violin like only a complete master can compose. From the grimmest sobbing of the bass strings to the hellish pierce of the high notes, my emotions are rarely as stirred and moved as they are from this musical genius. Where super-high notes seemed to be showy flourishes in the past, Ysaye uses them with artistry and reserve that throws the instrument into an entirely different, and many times unsettling, light.
This is what music is about. This music reaches beyond the violin and mere technical flair, it is art of the grandest form. Ysaye's composing is incredibly personal and intricate. I can't believe Ysaye hasn't received more recognition. It's absurd that most of the recordings are out of print.
I highly recommend this recording to anyone interested. And spread the word, Ysaye deserves it.
Brilliant Works for Solo Violin Eugène Ysaÿe (1858-1931) was one of the wonders of the music world when he dominated the scene as the greatest violinist of his day. Unfortunately his performing career was relatively short, but his legacy lives on through his compositions for his chosen instrument, compositions that challenge the every best violinists to reach beyond human capabilities and 'play like the devil'!
This excellent recording of his six Sonatas for Solo Violin is given the kind of performance that will remain a gold standard for some time. Thomas Zehetmair again proves that there are few hurdles he cannot leap and each of the six sonatas are performed with panache, technical brilliance, and zest. The history of the sonatas and the violinists to whom they were dedicated is well known, but it takes performances like these by Zehetmair to point out the subtle references of the dedications.
This is a virtuoso performance of virtuosic compositions and makes a fine addition to everyone's musical library. Highly recommended. Grady Harp, December 05
Brilliant renditions Eugene Ysaye was born in Belgium in 1858 and, having taken up the violin at the age of four, he studied with with Wieniawski and Vieuxtemps. During his lifetime Ysaye was best known as a violin virtuoso. Amongst the composers who dedicated major works to him were Chausson (Poeme), Debussy, Franck (the Violin Sonata) and Saint-Saens. Sadly, ill-health limited his performing career, but not before he had gained almost universal fame. However, these days he is perhaps best known as the composer of these sonatas - even though he lacked formal training.
These are wonderful renditions of this unjustly overlooked repertoire. The sonatas are varied enough to keep ones attention from beginning to end. Ysaye's precursors in solo violin sonoatas were Bach and Paganini and there are clear references to them here. If you appreciate those pieces or simply love the violin, then you will really warm to these works, especially as performed here by Zehetmair. I had heard Zehetmair before in, for example, Szymanowski's Concertos, and not really been grabbed, but the playing here is splendid: true musical sensibility as well as virtuoso technique.
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